gkeith_1 Spoilers. Observations. Opinions.Remarkable. Film in era of The Great Depression.Two sidewalk con artists, obviously uneducated. I keep harping on that. They can't earn a living, much less their hotel rent.Into their lives appear a little darling, akin to screen mini-goddess S. Temple. This is the typical orphan story. The child can sing, act and dance, earning money to put the crooks out of their misery.Little big shot. Little sure shot. Little Miss Marker. Damon Runyon tales.Stupid crook says the cops are coming (Horton). Should have spoken in code. Dumb idiot. Horton keeps hesitating in his speech, like a cheap version of Frank Morgan. Did you see Horton as the Wizard of Oz? No, you did not. I remember Horton from old Fred Astaire movies.Jason thrown under the bus for S. Temple, who got tons more publicity. Temple got thrown under the bus for J. Garland (again, Wizard of Oz). Temple's career took a nosedive, after The Little Princess, in which Jason got lower billing as a slimy little slavey character. Also, another of Temple's swan song attempts was the half-hearted fairyland wannabe film (of Wizard of Oz) The Blue Bird, in which Jason got a supporting role of the sick child.J. Garland was used up by Hollywood, and then conveniently thrown under the bus due to her "ill health", vis a vis at the same time the all of a sudden disappearance of LB Mayer. Sad, eh what? Temple got too old, married way too young, film career dying on the vine.I never knew Jason starred in any film, but in Little Big Shot I am so surprised -- and in a good way. She sings. She dances. There is no S. Temple hogging the camera.I study the Great Depression. I am a degreed historian, film critic and movie reviewer. I love song and dance films. I hate black and white, however.

JohnHowardReid A routine, if somewhat violent gangster melodrama, filmed on a moderate budget with worthy players struggling to bring some life into a routine array of the usual stock characters (which were still going strong when Abbott and Costello re-made the first scenes of the movie far more amusingly as Buck Privates in 1941). Admittedly, as said, some of the players try hard (too hard in the case of Edward Everett Horton, whose efforts serve to highlight the lack of inspiration in the writing of his lines and business), and Miss Jason is most definitely a worthy find. Unfortunately, despite her evident talents and her precocious maturity, there were several moppets ahead of her in the Hollywood pecking order, including box office giant, Shirley Temple. All told, by the high standards (script, budget, players) we'd come to expect of a Michael Curtiz movie at this stage (his previous film was Front Page Woman; his next, Captain Blood), Little Big Shot must be rated a big disappointment.

LynxMatthews I guess we were allowed to only have one Shirley Temple, so there were probably a few little girls given chances who did not do the box office and thus they have been consigned to the dustheap of the forgotten.This little girl deserved better as she was quite talented. Mainly as an actress, she really put the character across, this cute, self-assured, gregarious little gal who befriends all she meets. The trick is not making her TOO adorable, and somehow she pulls it off despite scenes where she is crying on the steps of an orphanage or when her dog is kicked by an evil gangster. She's a little robotic in her Temple-esque musical numbers, but as an actress she had the chops. Only wish she would have shared some of the earnings with the black kids after she horns in on their street act!As the lead guy, Armstrong really shines as a character we have seen before, the no-good guy who is turned soft by a kid. He makes it fresh by never seeming like too hard a guy to begin with, and not going too soft too soon. Horton helps out a great deal.The girl ends up being exposed to a surprising lot of violence and emotional turmoil before the whole thing winds up. But that's what you get sometimes!

ancient-andean Five-year-old Sybil Jason, or "The Countess', with her wonderful clear English diction, is orphaned, and teams up with two cheap four-flushers, the con men Steve (Robert Armstrong) and Mortimer (Edward Everett Horton) on Broadway in depression New York.What a masterful performance Sybil gave! A true work of acting genius. We first see her in the "Ritz" with her father, Steve and Mortimer eating a palatial dinner neither her gambling indebted father, nor the broke four flushers can afford. Abandoned by her father, Sybil ends up at the con men's cheap hotel. Later, lost on the street in Broadway with three black children, she performs masterful song, dance and imitation routines that can only be compared to the VERY BEST of Shirley Temple and Mitzi Green. In one of the most heartbreaking scenes in cinema history, Steve abandons her at an orphanage where, sobbing, she carries a suitcase nearly as big as herself down the walkway and collapses on the stairs to the front door. Beyond that, you'll have to see the rest of the movie.Sybil runs the gamut of emotions in her acting, always with her special girlish English accent. Her voice rings like a perfectly tuned bell. With her big brown eyes, she alternates masterfully between a little girl's joy, pain, laughter, longing, affection and fear.The movie itself is extremely well done. Not your usual depression era child mush-fest, the movie works on many levels -- beyond the little lost orphan story, it is a masterful, tough gangster film, a love story, and a glittering, multi-faceted cinematographic gem of depression era Broadway street scenes.Favorite line --The Countess: "I'll be good. I won't say a word. I'll just sit in the corner and eat a lollipop"Let's hope that the classic movie cable channels dig up some more of Sybil's lost films.